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Category Archives: Book of the Week

Book of the week — Unnoticed Like a Bird

09 Monday Jan 2017

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Bertha Georgie Yeats, Betty C. Bowen, Centaur, flax, Jana Pullman, Macmillan Publishing Company, Madison, Mary Sprague, Nideggen, rare books, Ray Gloeckler, Richard J. Finneran, Sekishu Natural, Singletree Press, The Three Hermits, Western Slope Bindery, William Butler Yeats, Wisconsin, woodcuts

pr5902-a3-1987-spreadclosed

“The Three Hermits”

Three old hermits took the air
By a cold and desolate sea,
First was muttering a prayer,
Second rummaged for a flea;
On a windy stone, the third,
Giddy with his hundredth year,
Sang unnoticed like a bird:
‘Though the Door of Death is near
And what waits behind the door,
Three times in a single day
I, though upright on the shore,
Fall asleep when I should pray.’
So the first, but now the second:
‘We’re but given what we have earned
When all thoughts and deeds are reckoned,
So it’s plain to be discerned
That the shades of holy men
Who have failed, being weak of will,
Pass the Door of Death again,
And are plagued by crowds, until
They’ve the passion to escape.’
Moaned the other, ‘They are thrown
Into some most fearful shape.’
But the second mocked his moan:
‘They are not changed to anything,
Having loved God once, but maybe
To a poet or a king
Or a witty lovely lady.’
While he’d rummaged rags and hair,
Caught and cracked his flea, the third,
Giddy with his hundredth year,
Sang unnoticed like a bird.

Unnoticed Like a Bird: Poetry by William Butler Yeats
William Butler Yeats (1865-1939)
Madison, WI: Singletree Press, 1987
PR5902 A3 1987

Illustrated with woodcuts by Mary Sprague.

From the colophon:
“Unnoticed Like a Bird is the result of a year-long collaborative effort by Mary Sprague and Betty C. Bowen. The cover stock was made of flax by Jana Pullman.

pr5902-a3-1987-cover

Mary handprinted the illustrations on Sekishu Natural. The text is Centaur printed on Nideggen. With thanks to Ray Gloeckler…”

Jana Pullman, bookbinder, book artist, and papermaker, supervised the Repair Unit for the General Collection at the Marriott Library, The University of Utah, where she also taught conservation and bookbinding workshops. Her Minnesota-based bindery, Western Slope Bindery, is named after her geographic origins in Utah.

Further, from the colophon:
“These poems are reprinted with the permission of Macmillan Publishing Company from The Poems of W. B. Yeats: A New Edition edited by Richard J. Finneran. Copyright 1916, 1919, 1933, by Macmillan Publishing Company. Copyrights renewed 1944, 1947, 1961 by Bertha Georgie Yeats.”

Edition of thirty-five copies. Rare Books copy is no. 17.

pr5902-a3-1987-threehermits

pr5902-a3-1987-title

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Book of the Week — Opticks or, a Treatise of the Reflections…

02 Monday Jan 2017

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color, copper engravings, Isaac Newton, Leibniz, light, London, Opticks, Philosophical Transactions of the Royal Society, rainbows

qc353-n55-title

“God in the beginning formed matter in solid, massy, hard, impenetrable, movable particles, of such sizes and figures, and with such other properties, and in such proportions to space, as most conduced to the end for which he formed them.”

OPTICKS OR, A TREATISE OF THE REFLECTIONS…
Isaac Newton (1642-1727)
London: Printed for S. Smith, and B. Walford, 1704
First edition, first issue
QC353 N55

Isaac Newton’s theories and experimentations on color and light grew out of his undergraduate studies. He introduced some of his ideas detailed in Opticks in an article he wrote for the Philosophical Transactions of the Royal Society in 1671. When Newton presented his concepts about the behavior and characteristics of light, particularly that white light is composed of a spectrum of colors, he posed a number of questions intended to stimulate further research. Opticks explains such phenomena as rainbows and contains two treatises supporting his side of the dispute with Leibniz that it was, indeed, he who discovered calculus.

“In a Letter written to Mr. Leibnitz in the Year 1676, and published by Dr. Wallis, I mentioned a Method by which I had found some general Theorems about squaring Curvilinear Figures, or comparing them with the Conic Sections, or other simplest Figures with which they may be compared. And some Years ago I lent out a Manuscript containing such Theorems, and having since met with some Things copied out of it, I have on this Occasion made it publick, prefixing to it an Introduction and subjoyning a Scholium concerning that Method.”

Nineteen copper-engraved folding plates. This first issue was published anonymously, with only the initials “I.N.” at the end of the Advertisement.

 

qc353-n55-fig8

 

qc353-n55-fig13

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Book of the Week — Colours of Persia

26 Monday Dec 2016

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airbrush, Barcham Green, Baskerville, Bembo, calligraphy, carborundum, collages, color, crayon, Curzon, cut-outs, drypoint, English, etchings, Farsi, foldouts, Garamond Italic, goatskin, gold foil, Hafez, inlaid leather, Isfahan, Ker Porter, letterpress, linocuts, London, Mashad, onlays, Persia, Prix de Rome, Richard de Bas, Saadi, Shiraz, silver foil, Susan Allix, Tehran, tilework, University of Utah, watercolor, Yazd

n7433-4-a57-c65-2007-cover

Although I have no beauty, colour & perfume
Am I not after all the grass of His garden?”
— Saadi

COLOURS OF PERSIA: PERCEPTIONS, ACCOUNTS…
Susan Allix (b. 1943)
London, 2007
N7433.4 A57 C65 2007

From the artist: “The text is arranged around the headings of five cities – Tehran, Mashad, Yazd, Shiraz and Isfahan. These names are printed in English in 48pt. Garamond Italic and Farsi, which was cast in Tehran. Different typefaces have been used for the different voices of the authors: Ker Porter speaks in Bembo, Curzon in Baskerville, Hafez in varying sizes of Garamond.
Handset and letterpress printed on handmade Barcham Green. The paper for the prints is handmade Richard de Bas. Twenty-six prints, of which seventeen are etchings with drypoint, carborundum and other methods, seven are linocuts, and two are a combination of two or more of these processes. Four prints in black and white, the rest in color, including hand coloring by watercolor, crayon and airbrush, and gold and silver foil.
Additionally illustrated with some foldouts of varying sizes, including some with cut-out shapes. A variety of colored sheets act as interleaving or free colored collages.
Bound in goatskin, some of which has been dyed cobalt blue and yellow. The inlaid leather is also inlaid with waxed paper printed in a style similar to tilework, its semi-transparent quality allowing the title to show through in shadow. The design, based on architectural shapes, has onlays of black, freely-cut leather reminiscent of calligraphy. Within the edition, each binding differs slightly.”
This is the forty-fifth publication of Susan Allix, who has received the Prix de Rome for her book work. Edition of twenty-five copies, signed by the producer. University of Utah copy is no. 9.

n7433-4-a57-c65-2007-i-saw

n7433-4-a57-c65-2007-carpet

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Book of the Week — Color for the Letterpress

19 Monday Dec 2016

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color, Colorado Springs, James Trissel, letterpress, The Press at Colorado College, University of Utah

ne1850-t75-1987-title

“The simplest color relationship…still requires understanding of the color characteristics…that is, hue, value, intensity and temperature, etc.”
–James Trissel

COLOR FOR THE LETTERPRESS
James Trissel
Colorado Springs: The Press at Colorado College, 1987
NE1850 T75 1987

Twenty unnumbered, unbound folded leaves issued in plastic and wooden cases. Edition of seventy-five copies, signed by the author. University of Utah copy is no. 11.

ne1850-t75-1987-yellow

ne1850-t75-1987-blue

ne1850-t75-1987-purplegold

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Book of the Week — A Grammar of Color

12 Monday Dec 2016

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advertising, Alfred H. Munsell, Arthur S. Allen, balance, behaviour, color, color system, dimension, Fortune Magazine, grammar, Massachusetts, mathematics, Mittineague, Munsell System of Color, paper trade, printing, proportion, quality, Rudolph Ruzicka, Strathmore Paper Company, Thomas M. Cleland

qc495-c7-1921-title

“The sense of comfort is the outcome of balance, while marked unbalance immediately urges a corrective. That this approximate balance is desirable may be shown by reference to our behavior, as to temperatures, quality of smoothness and roughness, degrees of light and dark, proportion of work and rest. One special application of this quality is balance which underlies beautiful color.”
— A. H. Munsell

“The three dimensions of color are not involved in the mysteries of higher mathematics. There is nothing about them which should not be as readily comprehended by the average reader as the three dimensions of a box, or any other form which can be felt or seen. We have been unaccustomed to regarding color with any sense of order and it is this fact, rather than any complexity inherent in the idea itself, which will be the source of whatever difficulty may be encountered by the reader, who faces this conception of color for the first time.”
— T. M. Cleland


A GRAMMAR OF COLOR. ARRANGEMENTS OF…
Thomas Maitland Cleland (1880-1964)
Mittineague, MA: The Strathmore Paper Co., 1921
QC495 C7 1921

Thomas Cleland wrote and designed this manual of color, funded by the Strathmore Paper Company. He suggested nearly endless options, good and bad, for printing various colored inks onto colored papers. Twenty-six paper samples from Strathmore were provided in a separate envelope at the back of the book for experimentation. Soon after publication of this book Cleland became the art director for Fortune Magazine. Cleland’s text, with diagrams, explains the dynamics of the color system developed by theorist Alfred H. Munsell, who introduces Cleland’s essay. Munsell died just before the publication of the book.

A. H. Munsell devoted his life perfecting his Munsell System of Color. This is the first presentation of his system to the printing, advertising and paper trade. Nineteen folding color-printed specimens demonstrate color combinations.

qc495-c7-1921-3dcolor

Arthur S. Allen selected and arranged the color sheets.

Two plates engraved by artist and type designer Rudolph Ruzicka (1883-1978) depict balanced and unbalanced color schemes. Born in the Czech Republic, Ruzicka worked as a consultant to Mergenthaler Linotype Company for fifty years. He contributed illustrations to books published by the Grolier Club, Lakeside Press, and Overbrook Press. He collaborated with D. B. Updike on the design of several books for Merrymount Press.

qc495-c7-1921-balancespread

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Book of the Week — De coloribus libellus

05 Monday Dec 2016

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animals, color, color theory, Empedocles, Florence, Florentinae, Isaac Newton, Laurentii Torrentini, Loeb Classical Library, medicine, Neapolitan, philosopher, Piza, plants, Pseudo Aristotle, scientist, Simone Porzio (1497-1554), soul, vellum

qc495-a7-1548-title

“Those colours are simple which belong to the elements, fire, air, water and earth. For air and water are naturally white in themselves, while fire and the sun are golden. The earth is also naturally white, but seems coloured because it is dyed. This becomes clear when we consider ashes; for they become white when the moisture which caused their dyeing is burned out of them; but not completely so, for they are also dyed by smoke, which is black. In the same way sand becomes golden, because the fiery red and black tints the water. The colour black belongs to the elements of things while they are undergoing a transformation of their nature. But the other colours are evidently due to mixture, when they are blended with each other. For darkness follows when light fails. — Loeb Classical Library translation

DE COLORIBUS LIBELLVS A SIMONE PORTIO…
Pseudo Aristotele (384 BC – 322 BC)
Florentinae: ex officina Laurentii Torrentini, 1548
Editio princips

This is perhaps the earliest work on color theory, attributed to Aristotle, who took his ideas from Empedocles and went a step further, creating a base line occupied by seven colors. Aristotle’s base line was applied to all color-systems up to the time of Isaac Newton. His assumption was to represent colors as actual characteristics of the surface of bodies and not as subjective phenomena produced by the eye or in the brain as a result of the properties of light. Aristotle observed colors very accurately, as well as their contrasts. He noted, for instance, that the violet appearing on white wool appeared different when on black wool and that colors appeared different in daylight than in candlelight. Only much later were these phenomena systematically examined and explained.

This edition was translated and edited with extensive scholarly commentary by Simone Porzio (1497-1554), a Neapolitan philosopher and scientist who was a fanatical disciple of Pomponazzi. Porzio eventually gave up lecturing on medicine at Piza and his scientific studies to focus on studying philosophy. Porzio denied immortality in all forms and taught that the human soul is homogeneous with the soul of animals and plants.

Binding is old vellum with a red leather lettering piece.

qc495-a7-1548-pg23

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Book of the Week — The Collected Poetry of W. H. Auden

28 Monday Nov 2016

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Eleanor Nicholes, New York, poetry, Random House, rare books, The New Yorker, W. H. Auden

pr6001-j4-a17-1945-dustjacket

For, given man, by birth, by education,
Imago Dei who forgot his station,
The self-made maker who himself unmakes,
The only creature ever made who fakes,
With no more nature in his loving smile
Than in his theories of a natural style,
What but tall tales, the luck of verbal playing,
Can trick his lying nature into saying
That love, or truth in any serious sense,
Like orthodoxy, is a reticence.
— from “The Truest Poetry is the Most Feigning or, Ars Poetica for Hard Times”

The Collected Poetry of W. H. Auden
W. H. Auden 91907-1973)
New York: Random House, 1945
First edition, tenth printing

Stanza quoted above from folded clipping out of The New Yorker, date unknown, found tucked into this copy after the title-page.

pr6001-j4-a17-1945-ephemera

Rare Books copy inscribed and dated December 1954 by Auden to Eleanor Nicholes, who donated the book to us.

pr6001-j4-a17-1945-title

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Book of the Week — Life on the Mississippi

21 Monday Nov 2016

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American, American Civil War, booksellers dummy, Boston, childhood, England, greed, gullibility, James R Osgood, life, Mark Twain, Mississippi River, New Orleans, Ohio River, railroads, rare books, Samuel Clemens, St. Louis, steamboat, The Adventures of Huckleberry Finn, The Adventures of Tom Sawyer, typewriter, United States

f353-c6441-1883-cover

“Look at me! I’m the man they call Sudden Death and General Desolation! Sired by a hurricane, dam’d by an earthquake, half-brother to the cholera, nearly related to the small-pox on the mother’s side! Look at me! I take nineteen alligators and a bar’l of whiskey for breakfast when I’m in robust health, and a bushel of rattlesnakes and a dead body when I’m ailing! I split the everlasting rocks with my glance, and I squench the thunder when I speak! Whoo-oop! Stand back and give me room according to my strength! Blood’s my natural drink, and the wails of the dying is music to my ear! Cast your eye on me, gentlemen!—and lay low and hold your breath, for I’m bout to turn myself loose!”

——————————–

“I became a new being, and the subject of my own admiration. I was a traveler! A word never had tasted so good in my mouth before. I had an exultant sense of being bound for mysterious lands and distant climes which I never have felt in so uplifting a degree since. I was in such a glorified condition that all ignoble feelings departed out of me, and I was able to look down and pity the untraveled with a compassion that had hardly a trace of contempt in it.”

f353-c6441-1883-riverboat

Life on the Mississippi
Mark Twain (1835-1910)
Boston: James R. Osgood and Co., 1883
First American edition, first state
F353 C6458 1883b

During an 1872 visit to the American Midwest, Samuel Clemens was “struck by the great diminution of steamboat traffic on the Ohio River and became anxious to document the steamboat era before it vanished altogether….” Life is his memoir of his youthful years as a “cub” pilot on a steamboat paddling up and down the Mississippi River. He used his childhood experiences growing up along the Mississippi in a number of works, including The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn, but in Life, thoroughly described the river and the pilot’s life prior to the American Civil War.

Clemens wrote of his return to the river, traveling on a steamboat from St. Louis to New Orleans. He described the competition from the railroads; the new cities; and a world of greed, gullibility, and bad architecture. Clemens considered Life his greatest work, in spite of the fact that he attempted to rewrite it immediately after publication.

This is believed to be the first literary work composed on a typewriter. It was published simultaneously in the United States and England. Illustration on page 441, showing Mark Twain in flames, which was omitted at the request of Mrs. Clemens in further printings of the same date.

f353-c6441-1883-pg441

Sold by subscription only, Rare Books has a booksellers dummy for this subscription. University of Utah copy in library binding.

f353-c6441-1883-title

f353-c6441-1883-announcement

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Book of the Week — Faust

14 Monday Nov 2016

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Antiqua, Bremer Press, Faust, font, Frankfurt, German, Johann Wolfgang von Goethe, Louis Hoell, printing, Tolz, twentieth century, type, typecutter, University of Utah, Willy Wiegand

pt1916-a1-1920-title

He only earns both freedom and existence
Who must reconquer them each day.”
― Johann Wolfgang von Goethe, Faust

FAUST
Johann Wolfgang von Goethe (1749-1832)
Tolz: Bremer Press, 1920
PT1916 A1 1920

Printed using a proprietary type (an Antiqua) designed for Bremer Press by the director of the press, Dr. Willy Wiegand. The font was cut in Frankfurt by Louis Hoell (a typecutter who cut many types for designers in the heyday of German printing in the early twentieth century). The two sat side by side for days, cutting, filing, and proofing the font. Edition of two hundred and seventy copies. University of Utah copy is no. 8.

pt1916-a1-1920-pg6-7spread

“I hope we shall get on together, you and I;
I’ve come to cheer you up – That’s why
I’m dressed up like an aristocrat
In a fine red coat with golden stitches,
A stiff silk cape on top of that,
A long sharp dagger in my breeches,
And a cockerel’s feather in my hat.
Take my advice – if I were you,
I’d get an outfit like this too;
Then you’d be well equipped to see
Just how exciting life can be.”
― Johann Wolfgang von Goethe, Faust

pt1916-a1-1920-faust

 

 

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Book of the Week — Petri Gassendi Institutio Astronomica…

07 Monday Nov 2016

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astronomy, Copernicus, crystalline, England, English, Galileo, Jacobi Flesher, Johannes Kepler, Jupiter, light, moon, moons, mountains, Pierre Gassendi, sphere, stars, telescope, textbook, Tycho Brahe, university, valleys, woodcuts

qb41-g2-1653-orbits

“…senseless atoms, playing and toying up and down, without any care or thought, and from eternity trying all manner of tricks, conclusions and experiments, were at length (they know not how) taught, and by the necessity of things themselves, as it were, driven…so that though their motions were at first all casual and fortuitous, yet in length of time they became orderly and artificial, and governed by a certain law, they contracting as it were upon themselves, by long practice and experience, a kind of habit of moving regularly; or else being, by the mere necessity of things, at length forced so to move, as they should have done, had art and wisdom directed them.”

PETRI GASSENDI INSTITUTIO ASTRONOMICA, JUXTA…
Pierre Gassendi (1592-1655), etc.
Londini, typis Jacobi Flesher, 1653
QB41 G2 1653

qb41-g2-1653-title

French polymath Pierre Gassendi worked on atomic theory, physics, and the philosophical implications of the work of Greek philosopher Epicurus (ca. 330 BCE), which he used as support for his opposition to an Aristotelean world view. Gassendi was one of the first to coin the term “molecule,” defined as two or more atoms joined together. Much of his published work was written to counter the philosophical views of Rene Descartes.

Using telescope lenses provided to him by Galileo Galilei, Gassendi made numerous astronomical observations that helped establish the validity of Kepler’s laws of planetary motion. In 1631, he observed Mercury transit in front of the sun, thus providing strong evidence for the Copernican model. Gassendi denounced astrology as having no empirical support.

This is the first edition of this collection and the first publication in England of all three works contained within.

Institutio astronomica was first published in 1647. It was divided into three sections: the first discussed the “theory of the spheres,” the second described astronomical theory, and the third discussed the conflicting ideas of Tycho Brahe and Copernicus. The work was used as a textbook, particularly in English universities, for years. That the second edition, here, includes Galileo’s Sidereus nuncius and Johannes Kepler’s Dioptrice makes the publication historically significant.

Sidereus nuncius (first published in 1610 – this is the third edition, the first English edition of any of Galileo’s works) announced Galileo’s discovery of Jupiter’s moons. Sidereus nuncius was Galileo’s publication of his first observations through a telescope he developed in 1609. Galileo observed the moon as a spherical, solid body complete with mountains and valleys, contradicting the tradition of the moon as a crystalline sphere. He observed thousands of stars hidden from the naked eye. He discovered four moons surrounding Jupiter, in different positions at different times. With these observations Galileo accepted the Copernican theory.

qb41-g2-1653-shadowsurface

qb41-g2-1653-constellation

Dioptrice (first published in 1611 – this is the second edition) explained the manufacture and workings of the telescope, a necessary component in the acceptance of what the telescope revealed. Kepler discussed the laws governing the passage of light through lenses.

Contains four woodcut plates and woodcut diagrams throughout the text. Each work has its own title-page. The main title-page is printed in red and black. University of Utah copy binding contemporary calf, ruled in blind.

qb41-g2-1653-globe

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